Dedicated to the Butoh by Kasuo Ono, this module will work among its main themes: Life, death, flower and bird. The circulation of life in the body, in dance, in the environment, in time and in space. Touch the deepest of yourself and open the essence of your dance for life just as a flower opens to the universe.

For all levels. No prior knowledge or technique is required. Open to all interested in knowing, introducing, practicing, exercising and improving their personal and / or artistic expression. For dancers, actors, performers as well as body therapists and others interested in developing self knowledge and perfection through dance.

2. Dancing Archetypal Gods

Dedicated to the Butoh by Tasumi Hijikata, this module will present some forms and choreographies created and inspired by the father of Butoh dance. To develop his dances and choreographies, Hijikata studied classical forms of Eastern statues and represented them in their technique and their own aesthetics. During the four encounters, you will learn some of these forms as well as others that the Brazilian director, Will Lopes, has been researching in the Afro-Indian mythology of his culture.

Open to dancers, actors, performers as well as therapists, body artists and other interested parties.

3. Butoh Group Performance

In this module we will review the main fundamentals and exercises explored in the two previous modules to create and develop group Butoh dance performances. So the dance of Kasuo Ono, Tasumi Hijikata as well as that of Atsushi Takenouchi and the Jinen Butoh School will be our material for the module. During the 4 meetings, the objective will be to develop a final presentation based on the group's interest and availability. For this, an extra meeting will be scheduled, probably on July 7, 2019.

Will Lopes is a Brazilian Butoh dancer, actor, performer and director with 21 years of experience. Since 2018, he is based in Vienna and has been studying Butoh Dance with Atsushi Takenouchi at the Jinen Butoh School in Italy and other places in Europe. He just returned from Brazil, where he was giving a series of Butoh workshops and premiered his solo “Kagebara”.

Bachelor in Theater at the University of Brasilia in 2003, studied theater, dance, dance-theater, dramatic body mime, Butoh, circus, Martial Arts, and vertical dance. Physical trainer of performers specialized in the Brazilian technique Integral Bambu. Master degree in Communication and Semiotics at Pontifical Catholic University of São Paulo in 2016. In his artistic works he is specialized in the development of site-specific performances in the urban architecture of the city. He studied Brazilian popular culture with Antônio Nóbrega, Sei Tai Ho with Toshi Tanaka and cultural anthropological conceptions of the human body at the Pontifical Catholic University of São Paulo.

TAKE CARE TO ARRIVE 15MINUTES BEFORE THE CLASS STARTS! NO ENTRANCE FOR LATE-COMERS. THANK YOU FOR RESPECTING THAT RULE!

°Änderungen vorbehalten/ changes reserved

At this weekend you will get 4 Gaga-Classes and one "phrase work"-Class and one "Somatic sequencing"-Class!

DEEP SENSORY BODY AWAKENING with TANJA SABAN

Gaga, phrase work and somatic sequencing
Living inside a body is extraordinary; dancing with an awakened sensory body is magic.
In gaga we explore how we move from sensations and how our sensations can be an engine for our movement. We connect to pleasure and playfulness while we are multitasking, challenging our body and mind to become available. The deeper we dive into our sensory body, the more possibilities are opening up. Becoming aware of and differentiating sensations in the many layers of our body creates room for an organic reorganization of our movement habits. It connects us to flow, ease and our passion to move. We enrich our sensitivity and refine our ability to express, in the small and big gestures.

Fluid identities - phrase work (Saturday)
A choreographed sequence is the starting point and our creative restraint. Finding precision and defining the identity of a phrase- its spatial structure, textures, dynamics and rhythms- feeds into our movement vocabulary and helps us reflect on how we are using the elements of the dance in our body.
The next stage is about interpretation and deconstruction. We use each others movement, interpreting the interpretation and deconstruct the movement material until new choreographic identities emerge.

Somatic sequencing (Sunday)
The quality of our perception determines the quality of our movement. We are deep diving into an exploration of our anatomy and internal landscapes, reawakening our sensory body. Through movement, imagery and touch we explore different layers of tissues and their respective function. Fine tuning and differentiating our sensory awareness lets the body reorganize movement patterns and opens up a new range of possibilities in our bodies. We research where and how movement is initiated, how it sequences through the body and orchestrates rhythms and textures. Deep listening into our microcosm enriches our perception and refines our ability to articulate, in the small and big gestures

Gaga is a movement language which Ohad Naharin developed over the course of many years and which is applied in daily practice and exercises by the Batsheva Dance Company members. The language of Gaga originated from the belief in the healing, dynamic, everchanging power of movement.

Gaga is a new way of gaining knowledge and self-awareness through your body. Gaga provides a framework for discovering and strengthening your body and adding flexibility, stamina, and agility while lightening the senses and imagination. Gaga raises awareness of physical weaknesses, awakens numb areas, exposes physical fixations, and offers ways for their elimi-nation. The work improves instinctive movement and connects conscious and unconscious movement, and it allows for an experience of freedom and pleasure in a simple way, in a pleasant space, in comfortable clothes, accompanied by music, each person with himself and others.

more about Gaga you find here: www.gagapeople.com

Ohad Naharins‘ short explanation of what we do in a Gaga-Class:

“We become more aware of our form. We connect to the sense of the endlessness of possibilities. We explore multi-dimensional movement; we enjoy the burning sensation in our muscles, we are ready to snap, we are aware of our explosive power and sometimes we use it. We change our movement habits by finding new ones. We go beyond our familiar limits. We can be calm and alert at once.”

TAKE CARE TO ARRIVE 15MINUTES BEFORE THE CLASS STARTS! NO ENTRANCE FOR LATE-COMERS. THANK YOU FOR RESPECTING THAT RULE!

°Änderungen vorbehalten/ changes reserved

At this weekend you will get 4 Gaga-Classes and one "phrase work"-Class and one "Somatic sequencing"-Class!

DEEP SENSORY BODY AWAKENING with TANJA SABAN

Gaga, phrase work and somatic sequencing
Living inside a body is extraordinary; dancing with an awakened sensory body is magic.
In gaga we explore how we move from sensations and how our sensations can be an engine for our movement. We connect to pleasure and playfulness while we are multitasking, challenging our body and mind to become available. The deeper we dive into our sensory body, the more possibilities are opening up. Becoming aware of and differentiating sensations in the many layers of our body creates room for an organic reorganization of our movement habits. It connects us to flow, ease and our passion to move. We enrich our sensitivity and refine our ability to express, in the small and big gestures.

Fluid identities - phrase work (Saturday)
A choreographed sequence is the starting point and our creative restraint. Finding precision and defining the identity of a phrase- its spatial structure, textures, dynamics and rhythms- feeds into our movement vocabulary and helps us reflect on how we are using the elements of the dance in our body.
The next stage is about interpretation and deconstruction. We use each others movement, interpreting the interpretation and deconstruct the movement material until new choreographic identities emerge.

Somatic sequencing (Sunday)
The quality of our perception determines the quality of our movement. We are deep diving into an exploration of our anatomy and internal landscapes, reawakening our sensory body. Through movement, imagery and touch we explore different layers of tissues and their respective function. Fine tuning and differentiating our sensory awareness lets the body reorganize movement patterns and opens up a new range of possibilities in our bodies. We research where and how movement is initiated, how it sequences through the body and orchestrates rhythms and textures. Deep listening into our microcosm enriches our perception and refines our ability to articulate, in the small and big gestures

Gaga is a movement language which Ohad Naharin developed over the course of many years and which is applied in daily practice and exercises by the Batsheva Dance Company members. The language of Gaga originated from the belief in the healing, dynamic, everchanging power of movement.

Gaga is a new way of gaining knowledge and self-awareness through your body. Gaga provides a framework for discovering and strengthening your body and adding flexibility, stamina, and agility while lightening the senses and imagination. Gaga raises awareness of physical weaknesses, awakens numb areas, exposes physical fixations, and offers ways for their elimi-nation. The work improves instinctive movement and connects conscious and unconscious movement, and it allows for an experience of freedom and pleasure in a simple way, in a pleasant space, in comfortable clothes, accompanied by music, each person with himself and others.

more about Gaga you find here: www.gagapeople.com

Ohad Naharins‘ short explanation of what we do in a Gaga-Class:

“We become more aware of our form. We connect to the sense of the endlessness of possibilities. We explore multi-dimensional movement; we enjoy the burning sensation in our muscles, we are ready to snap, we are aware of our explosive power and sometimes we use it. We change our movement habits by finding new ones. We go beyond our familiar limits. We can be calm and alert at once.”